Autothrall's Best Metal Albums of 1980

The Top 20 Metal Albums of 1980

01. Angel Witch (UK) - Angel Witch
02. Diamond Head (UK) - Lightning to the Nations
03. Motörhead (UK) - Ace of Spades
04. Judas Priest (UK) - British Steel
05. Ozzy Osbourne (UK) - Blizzard of Ozz
06. Saxon (UK) - Wheels of Steel
07. Black Sabbath (UK) - Heaven and Hell
08. Iron Maiden (UK) - Iron Maiden
09. Quartz (UK) - Stand Up and Fight
10. Beowulf (USA) - Slice of Life
11. Samson (UK) - Head On
12. Girlschool (UK) - Demolition
13. Witchfynde (UK) - Give 'Em Hell
14. Tygers of Pan Tang (UK) - Wild Cat
15. Fist (UK) - Turn the Hell On
16. Saxon (UK) - Strong Arm of the Law
17. Def Leppard (UK) - On Through the Night
18. Scorpions (Germany) - Animal Magnetism
19. Manilla Road (USA) - Invasion
20. Accept (Germany) - I'm a Rebel

While I won't rule out the possibility of drafting up some 70s lists later on, I decided to start these at the year 1980, during which I turned six years old. I had already had a small handful of records, mostly KISS, Van Halen, Deep Purple, Judas Priest, and so forth passed on to me for a few years, but of course I was blissfully ignorant of the whole metal culture which itself was still in its infancy. At any rate, I'm sure you'll understand that a lot of what's on this 1980 list was picked up years later. Not surprisingly, these are almost all British bands, there wasn't a hell of a lot else out there. Angel Witch is my clear favorite of the batch, so highly melodic and catchy on every track, I've only grown fonder of it as the years have drifted on. A few relative unknowns here like Quartz, Fist and Beowulf, albums I've gotten into in more recent times. In general, this is not an incredibly strong selection, since metal itself was still picking up speed, but a few of these have become undisputed classics and influential on thrash/speed metal.

UPDATED FOR 2020

Judas Priest - British Steel (1980)

British Steel is not an album requiring much introduction, since it's one of the most popular of Judas Priest's outings and one of the better known in all of the heavy metal spectrum. The English legends had already built up a staggering momentum by the time 1980 struck, and this put them well over the top into the living rooms and tape decks of enthusiasts the world, and many galaxies over. I've met extra-terrestrials from far down the nearest Spiral Arm who have this on their .mp3 player. Seriously, if you've not heard "Breaking the Law" by now then you're either three years old and under (in which case you've probably STILL been exposed to it, just not retained the chorus), or you're from some undiscovered tribe of aboriginals on some uncharted island who worship overhead air traffic as deities; in which case I should not be addressing 'you' in the second-person since it's unlikely you have the Intertrons.

And it makes sense: British Steel is a more commercial venture, not unlike Hell Bent for Leather before it, only far better written. This album is a veritable hit machine, built for radio without abandoning the whole heaviness of the chords and distinctive screaming that got them to that point. Yet, some of the songs are so damned unforgettable that their appeal transcended wide beyond the borders of the metal/hard rock audience, as prevalent as it was through the 80s. Hell, a live version of pretty much the entire album was available to download and play in Rock Band. I have family members two generations removed that know "Living After Midnight". Despite this level of saturation, though, I would find it dishonest to qualify British Steel as one of my very favorites from the band. Essential to own? Probably. Consistent? For the most part. But I've long felt that there were a few chinks in its armor which brokered the album's dominion from an empire to a fiefdom. A killer fiefdom that hosts a large range of jousts and events, mind you, but it couldn't win a war with its more stunning and grandiose siblings like Stained Class, Sin After Sin, Screaming for Vengeance or Painkiller.

I've already mentioned "Breaking the Law", and where would we be without it? The vocal patterns are so pristine that they truly feel as if they've been engraved into the razor blade on the cover along with the logo and album title. The melodic lead-in guitar pattern is a thing of legend, learned by hundreds of thousands of aspiring six-stringers, and the chugging aggression of the chorus is enough to start a riot in any crowd of inebriated or even sober witnesses. Not to mention the atmosphere on the vocals, and the fact that the whole tune clocks in at around 2 and a half minutes. Concise and mother fucking immortal. "Living After Midnight" is the other giant in the room, with its party rock guitars and chorus that might just as well have been attributed to KISS or the Rolling Stones; but then you've got this 'second string' of semi-legendary tracks that have become regulars in the band's set list throughout the decades. The forceful, airy power metal staple "Rapid Fire" which has been emulated to precision in hundreds of cases; the mid-paced stadium anthem "Metal Gods" with its burly chords and laconic but hooky chorus; the dark grooves of "Grinder" and highway ready "Steeler", both of which would spawn bands using the titles as monikers (as other Priest songs had done in the past).

So what's my hangup? The rest of the album. I can forgive "The Rage" for its reggae-like introduction since the chords in the verse swagger with a particular degree of bad-assery, and I enjoy the flecks of rust Rob Halford places on the vocal lines. But the arena anthem "United", despite its cheesy melodic chorus, simply does not stand out to memory, paling in comparison to "Metal Gods" from the very same album, and suffering from a pretty generic guitar riff even for 1980. Not sure why this was chosen for a single. As for "Don't Have to Be Old to Be Wise", I would not have even remembered the song was on British Steel were I not listening again to review it, a pretty bare bones hard rock track without much appeal to the chorus, though it certainly feels classic Priest in its execution. All things considered, neither of these is necessarily a 'bad' song, just painfully average and overshadowed by the many great tracks that would catapult the band even further into the collective metal conscience. Another slight nuisance is the lack of devastating leads. A lot of the songs have them, but they get lost in the shuffle and often feel more atmospheric than impressive, even in the bigger numbers.

Production is good and dry, clean and appropriate for the mainstream steamrolling that the album would take straight to the bank, but perhaps not one of their best in terms of driving the songs into my noggin. This was the first album with new drummer Dave Holland, who would remain with Priest for six studio efforts before Scott Travis came in for Painkiller, but his output isn't all that wild here. Capable and dependable, like most of the albums he would appear on, and certainly heavy enough to add some ballast to the riffing, but not quite the powerhouse equivalent of his successor. Ian Hill's bass is present, but hardly exemplary and I feel it does get lost under the dry, ruddy industrial strength sheen of the chords; while Halford is his normal self, but he's not executing the same screaming and variation that he manifests on earlier (and later) works. Lyrically, too, this was never one of their most interesting records, especially tracks like "United" which have the poignancy of a kindergartner reciting the Pledge of Allegiance while privately thinking how he's going to stealth a few hours on his dad's XBOX later that evening.

In the end, though, the songs really win out here. At least six of them, and British Steel earns its keep despite the sagging, unremarkable middle cuts. Certainly the first 15 minutes of the album are comparable in quality to nearly anything else in their catalog, and its logical that this would be one of their better sellers in England and the States. Heavily promoted, and not surprisingly, defined as a major milestone in the genre due to its success and the utter stickiness of some of the songs.

Verdict: Win [8.75/10] (then I'm gone, I'm gone)


http://www.judaspriest.com/

Iron Maiden - Iron Maiden (1980)

First impressions are important, and I can only imagine how much they accomplished for Iron Maiden when they released their 1980, self-titled debut, the first mile marker on a long, fast paced marathon straight to the very summit of metal music and worldwide notoriety. This was unfortunately not my own first exposure to the band, as I hitched a ride on the wagon with Killers and then had to listen back. I don't enjoy it quite so much as its successor, since that album simply kicked my ass a lot harder in the long run, but there are a number of tracks here which are nearly impossible to shake out of the memory. At the very least, the firm roots were planted which would blossom into the steel fruits of the next three decades, and beyond...

Iron Maiden is notable as the only album in which the original lineup is over 50% different than the current roster, and to think...the band had a fair number of vocalists, guitarists and drummers before this one even took shape. Paul Di'anno and Clive Burr would go on to the sophomore album Killers, and Burr to The Number of the Beast, but this is the only studio album to feature Dennis Stratton on guitar alongside Dave Murray and Steve Harris (the two remaining 'original' members today). This is also perhaps the album which most matches the 'NWOBHM' motif that many of the band's peers were exploring, a very 70s vibe which comes as no surprise since some of the songs were written in that timeframe. It's not entirely heavy (none of their albums are), and several tracks maintain a somewhat psychedelic vibe, but that's actually one of the things I enjoy most about the album.

"Prowler" is the first at bat, a steady rocker that belongs at the heart of any Western 80s metropolis, as the ladies of the night and their admirers stalk the seedy city streets and the hard bite of the chords shuffles on, erupted by the forceful melodies that pick up the pace. Perhaps the best part of the song is the wild bridge at 1:47, where the guitars burn off like a brand against the mind and the solo explodes like a supernova. "Remember Tomorrow" feels like the Iron Maiden answer to "White Rabbit", with a psychedelic slur to the bass and a gently bouncing rhythm that bristles at the edges with its slight guitar shudders, only to transform at the 2:00 mark into a powerful stretch of chords that mirror other NWOBHM bands like Angel Witch. When all and said is done, this is one of my favorite tracks on the album, memorable and covering a wide spread of emotional impact. But "Running Free" is one of the most recognizable, due to the steady splash of the drums and the wonderfully delivered chorus line. There's a reason this song has been a live standard ever since...it's the type of sentiment that can seek out relation far wider than the band's core metalhead, hard rocker fanbase.

"Phantom of the Opera" is the 'epic' of this debut album, at about 7 minutes long, so not quite as involved as some of their sprawling, later tracks. It's tightly controlled, with mesmerizing, spry, memorable acrobatics on the guitars and a fantastic bridge laden in even further melodic musings, before returning to its savage final verse. The instrumental "Transilvania" features some killer speed metal before the drum beat enters to marry the slower, thundering pace of the pre-verse, which feels half like a pirate shanty. Another of the timeless classics of this album, it features the most intense guitar exchanges and Steve Harris losing his mind on tape. "Strange World" is by far the most psychedelically charged song in the Iron Maiden discography, like the band were jamming to some lost Pink Floyd cycle but incorporating the shimmering melodies of the metal guitars.

I'll admit I'm not the biggest fan of "Charlotte the Harlot", it's not that the ballsy blues metal atmosphere bothers me, simply that the riffs do very little for me. But regardless, it's got some intensive drumming and a shuffle to it that feels similar to several of the tracks the band would later release on Killers. The band's namesake "Iron Maiden" stands alongside "Running Free" as one of the tracks here that the band will simply not forsake, having played it in their regular live set for 30 years. It's not my personal favorite, but certainly infectious, with fun little melodies that launch out of the chorus and delightful bridge melodies. I should also mention "Sanctuary", which may not have been included on the original release of the album, but has been a part of so many subsequent re-issues that it deserves a spot here, a fun and firm fusion of Maiden heresy and Steppenwolf's "Born to Be Wild" with some wailing solos and busy bass.

Clearly the start of something beautiful, much of Iron Maiden holds up well to this day, though not so much as the crushing followup Killers. There are fans out there who still rank this as the band's finest hour. But, the rose-tinted goggles of nostalgia aside, it does not fully represent to me the characteristics of the band's best work, which would arrive in spades over the next 5 full-length efforts. I don't often find myself going out for a "Charlotte the Harlot" or "Sanctuary", and though "Strange World" is peachy, it feels to me like some other band. Still, the performance of the original members Stratton and Burr is strong here, and Di'anno's tones sound natural with the more 70s hard rock and psychedelic foundation that permeates about half the album. It's an important album, and a very good album, critical in helping to usher on the onslaught of 80s metal evolution and its many hydra-headed revolutions and sub-genres, but I honestly feel the band has surpassed this many times over.

Highlights: Remember Tomorrow, Running Free, Phantom of the Opera, Transilvania

Verdict: Win [8.25/10] (now all the boys are after me)

http://www.ironmaiden.com/

Iron Maiden - Live!! + One EP (1980)

Although the cover to Iron Maiden Live!! + One is unfamiliar and for all intents and purposes seems to resemble a bootleg, it was actually an official release for Japan, and given an extended release (with bonus tracks) in the Greek territory a few years later. This is a review for the Japanese edition, which is about as easy to track down these days as a virgin named Mary, so you may have to let your fingers do the walking to experience it. But, as this is not the de facto Paul Di'anno live recording, and the studio track is one you can hear elsewhere, it's hardly worth the trouble...

As the blatant title would infer, this features a few live tracks, and a single bonus studio track. "Sanctuary" is taken from the single of the same name (and a bonus track on the re-issue of the debut Iron Maiden), sort of a Maiden equivalent to a "Born to Be Wild", lacking some of the intricacies of their other, early material, but still featuring great bass and a nice melodic break later in the track. After a brief banter, they break into "Phantom of the Opera" from the debut, which sounds extremely good here, a burst of excessive force which could leave the majority of other NWOBHM upstarts in the dust. "Drifter" is likewise entertaining, quite a lot like "Sanctuary" in tone but with that killer opening guitar phrase. "Women in Uniform" is the studio track, a cover of the Skyhooks original, which has appeared in several places, including its own single, a fun melodic rocker with some goofy lyrics that feel perhaps a little too rock, especially with Di'anno's often overbearing edge.

And that's all there is to it. I would imagine a collector would be interested in owning both versions of this EP, but if you're actually hunting it down for content purposes, the Greek version might be the better value, as it includes live versions of "Prowler", "Running Free", "remember Tomorrow", "Innocent Exile", and "I've Got the Fire". Most of these are included with the extended fan version of the Maiden Japan EP, though, and if you're seeking the ultimate live session between Paul Di'anno and his alma matter, track that down instead. Live!! + One is not unpleasant, it's just irrelevant.

Verdict: Indifference [5/10]

http://www.ironmaiden.com/

Nightmare City (1980)

Originally titled Incubo Sulla Cittá Contaminata, Nightmare City is another early 80s horror film from the madman Umberto Lenzi. In my recent review of the hideous Cannibal Ferox, I had mentioned that he had directed some movies that were actually fun. Though in some areas it leaves much to be desired, Nightmare City is one such 'fun' film.

News reporter Dean Miller is awaiting an interview with a scientist at the airport, when an unidentified plane lands on the strip. The plane fails to respond to the tower signals, and when surrounded by the army, the door bursts open. The scientist and a terror squad of 'zombies' jump out and begin attacking the soldiers. For the rest of the film, the zombies tramp about the city and countryside, killing and/or converting everyone they come across. A few survivors eek out their last moments trying to escape from the nightmare.

Now, these zombies are a strange lot. They're not really even zombies, per se, but humans that have undergone some radioactive treatment that makes them very hard to kill, and extremely violent. Some of them appear to be decaying, at least their heads and hands, while others show only a few drops of blood on their faces. Many look like an animal took a squat on their heads. Through most of the film, they run about cackling and killing others with knives, but they can also equip guns if they want. They're not really stupid, and they seem to have a plan for the takeover of this region. Mexican born Hugo Stiglitz plays newsman Dean Miller, who is attempting to save his wife, a doctor, and he spends most of the movie fleeing from the zombies with the same, confounded look on his face. It's quite funny.

And speaking of faces, the film always takes these close-up shots of zombies as they are either about to kill someone or about to be destroyed themselves. It's a hilarious technique, especially since these actors look like regular joes and can make a wide variety of interesting faces. The movie is somewhat gory, a few zombies will rip off women's shirts to expose their breasts before stabbing them (and often eating said breasts). They seem to have a taste for blood.

Despite how goofy it all seems, the film does manage to elicit some horror from the viewer. These things are out to kill, and the population of the 'living' is dwindling by the moment, as more and more are transformed into raging killing machines. This is a long time before 28 Days Later, folks, and has that same sort of empty, apocalyptic vibe. There is such a long stretch of scenes of killing that it is difficult not to become engaged in the feeling of doom. The soundtrack is quite good, with a lot of creepy bass and proggish synth that were common for horror films of the period.

The end of the film is extremly frustrating, and worthless, but you could say the title was a 'dead giveaway'. It's cliche, and unnecessary, detracting from the 90 minutes you just spent viewing it. Still, Nightmare City is thrilling and fun enough that I'd recommend it to fans of campy but creepy zombie horror, at least to watch through once.

Verdict: Indifference [6.5/10]

Witchfynde - Give 'Em Hell (1980)

Though the band is often criticized for using sinister, occult imagery on their records which the music itself doesn't seem to support, there can be no denial that Witchfynde produced some damn fine heavy metal records in the early phase of their career. Specifically, the first four albums, of which the two 1980 efforts were their best. Give 'Em Hell was one such effort (the other being the great Stagefright), and it's a good start for the band, with some excellent guitar work, and fantastic production that remains fresh to my ears in 2009.

Witchfynde was neither as heavy as Venom and Iron Maiden nor as radio starved as Def Leppard and Tygers of Pan Tang; they compare more favorably to the styles of Saxon, Diamond Head and Girlschool. The riffs on tracks like the opener "Ready to Roll" and bluesy Joan of Arc tribute "The Divine Victim" are fantastic, and the title track "Give 'Em Hell" is pure heavy metal. Slower tracks like "Leaving Nadir" and "Unto the Ages of the Ages" are dark and mystical, yet laden with the bluesy rock traditional of 70s ballads. "Pay Now - Love Later" is a smutty, catchy hard track, and pretty much the only song of the seven that I didn't fall for was "Gettin' Deavy".

They're getting fat just handin' out their favours
They're always watchin' everythin' we do
The mean bastards dealin' in slave labour
An' they're out to get you and you

The vocals of Steve Bridges are cruel and cutting though melodic enough to compare with other big NWOBHM singers. What I truly love are the guitars, which are always ready to spring something cool on you, like the ringing chords in the middle of "Pay Now - Love Later" that arch over the ascending bass scale. Though the afficionado of early heavy metal will appreciate the tone and writing of this album, and Stagefright, they might be difficult for younger metal fans who are only accustomed to modern studio efforts and blazing power metal. But if you yearn for something sincere and almost 30 years old, Witchfynde (at least their early work) does belong in the pantheon alongside by Judas Priest, Iron Maiden, Venom, Saxon, and Motorhead.

Highlights: Ready to Roll, The Divine Victim, Unto the Ages of the Ages, Pay Now - Love Later

Verdict: Win [8/10] (in the cage the ringmaster cracks)

http://www.witchfynde.com/